75 10 1399 https://openvalley.org/files/original/a9f550b08e0cec68c50bcd38797207a2.jpg c01cb52bd49edbc9b6179f211c1ef47f https://openvalley.org/files/original/10d23c94c1e42352d3c7a955abf6f4fc.jpg 3f0bd805cfc411a1003d36b0daf426d3 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Map Physical Dimensions The actual physical size of the original image 48 x 66 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Survey of Lake Champlain Description An account of the resource The full title of this map is A Survey of Lake Champlain, including Lake George, Crown Point and St. John. Surveyed by Order of His Excellency Major-General Sr. Jeffery Amherst, Knight of the most Honble. Order of the Bath, Commander in Chief of His Majesty's Forces in North America, (now Lord Amherst) by William Brassier, Draughtsman. (with) A Particular Plan of Lake George. Surveyed in 1756. By Capt. Jackson. London: Printed for Robt. Sayer & Jno. Bennett ... Augst. 5th 1776.  The two dates here are important: the first locates Capt. Jackson's surveys amidst the French and Indian Wars, when England and its rival France were battling for territorial control of North America; the second date, of course, locates publication of the map during the American Revolution. The Champlain Valley and its waterways were a critical transportation route, and accurate knowledge of its terrain and strategic points was important military intelligence. Much of that is encoded literally on the terrain here. This map was one of six in a small hand atlas designed for British officers and as such was dubbed the "Holster Atlas" for its use in the field. Creator An entity primarily responsible for making the resource Sayer, Robert Bennett, John Publisher An entity responsible for making the resource available Sayer and Bennett (firm) Date A point or period of time associated with an event in the lifecycle of the resource 1776 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived <a href="https://www.davidrumsey.com/luna/servlet/detail/RUMSEY~8~1~1141~90019:A-Survey-of-Lake-Champlain,-includi?sort=Pub_List_No_InitialSort%2CPub_Date%2CPub_List_No%2CSeries_No&qvq=q:%22lake%20george%22;sort:Pub_List_No_InitialSort%2CPub_Date%2CPub_List_No%2CSeries_No;lc:RUMSEY~8~1&mi=0&trs=4#" target="_blank" rel="noopener">Courtesy David Rumsey Historical Map Collection</a> Format The file format, physical medium, or dimensions of the resource jpeg, 825 KB jpeg, 4.3 MB Type The nature or genre of the resource Still image American Revolution Champlain Valley French and Indian War Lake Champlain Lake George Map Military Map Watersheds https://openvalley.org/files/original/6ce02ccc1cc726f075ca46653e86e362.jpg a494e7429d5dc40e8df4badcede9359b https://openvalley.org/files/original/ab98b7edfa28999f63f7ecd9d2cb0cbc.jpg f48981547f98c9337761ad05bb526f30 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Lithograph on paper Physical Dimensions The actual physical size of the original image Image: 14 1/2 x 11 1/2 in. Sheet: 23 x 16 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Format The file format, physical medium, or dimensions of the resource jpeg, 2.2 MB jpeg, 1.8 MB Description An account of the resource About the Artist Born in Milwaukee, WI, Schardt studied at the Art Institute of Chicago and then the Art Students League in New York. His works were exhibited at the Federal Gallery and the Municipal Art Gallery. Beginning in the 1935 Schardt began working for the Federal Art Project in a variety of roles: printmaker, allocations administrator, facilitator in the Poster Division; he oversaw the WPA demonstration exhibits at the 1939 World’s Fair. During this period Schardt and his wife, the WPA artist Nene Vibber, shared a flat with Jackson Pollock. Schardt’s background in printmaking and administrative capacities often extended beyond the galleries. In the late 1930s and early ‘40s he worked for the National Youth Administration (NYA) at its Art Production Unit, where students learned about commercial art while creating posters for the Farm Security Administration (FSA) and military recruiters (“NYA Youth”). After World War II, his friend Jackson Pollock mentions Schardt working at “silkscreen printing (cosmetics) on a big skale [sic]” (Savig 192). He also continued to mentor young artists via lessons at the Brooklyn Musuem. 4 works at <a href="https://americanart.si.edu/artist/bernard-schardt-4288" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 4 works at <a href="https://www.nga.gov/collection/artist-info.33966.html" target="_blank" rel="noopener">National Gallery of Art</a>. 1 work at Metropolitan Museum of Art. 2 works at the Brooklyn Museum. 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-20-folder-29" target="_blank" rel="noopener">FAP</a>. 12 images at <a href="https://art.gsa.gov/people/2325/bernard-p-schardt/objects" target="_blank" rel="noopener">GSA</a>. Sources Consulted: University of Michigan Museum of Art, The Federal Art Project : American Prints from the 1930s in the Collection of the University of Michigan Museum of Art (University of Michigan Museum of Art, 1985); “NYA Youths Design Air Corps Posters,” Brooklyn Eagle 24 Aug. 1941: 6A; Mary Savig, ed., Pen to Paper: Artists’ Handwritten Letters from the Smithsonian’s Archives of American Art (Princeton Architectural Press, 2016). Creator An entity primarily responsible for making the resource Schardt, Bernard P. (1904 - 1979) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Contributor An entity responsible for making contributions to the resource Cooper, Ken (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1493 Title A name given to the resource Sheep Shearing Bernard P. Schardt Farm Life Federal Art Project lithograph New Deal Museum Pastoral https://openvalley.org/files/original/ba9db1a5796eb82a4abf8c2885b9fed2.JPG 66709468715cb79a9487e5d8480002df Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Engraving Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Three Able Seamen Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB Description An account of the resource This print’s obviously ironic title asks us to notice what flows into the void of unemployment—all the moments of time that remain to be filled. Three men stare into the near distance, fiddle with their fingers, or even empty a pebble from a shoe. This last gesture may reference a maritime tradition of throwing old boots into the wake of a departing ship so as to ensure safe passage back home. But in this stark monochrone linoprint, it’s not clear where home is for these men. About the Artist: Born in Milwaukee, WI, Schardt studied at the Art Institute of Chicago and then the Art Students League in New York. His works were exhibited at the Federal Gallery and the Municipal Art Gallery. Beginning in the 1935 Schardt began working for the Federal Art Project in a variety of roles: printmaker, allocations administrator, facilitator in the Poster Division; he oversaw the WPA demonstration exhibits at the 1939 World’s Fair. During this period Schardt and his wife, the WPA artist Nene Vibber, shared a flat with Jackson Pollock. Schardt’s background in printmaking and administrative capacities often extended beyond the galleries. In the late 1930s and early ‘40s he worked for the National Youth Administration (NYA) at its Art Production Unit, where students learned about commercial art while creating posters for the Farm Security Administration (FSA) and military recruiters (“NYA Youth”). After World War II, his friend Jackson Pollock mentions Schardt working at “silkscreen printing (cosmetics) on a big skale [sic]” (Savig 192). He also continued to mentor young artists via lessons at the Brooklyn Musuem. 4 works at <a href="https://americanart.si.edu/artist/bernard-schardt-4288" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 4 works at <a href="https://www.nga.gov/collection/artist-info.33966.html" target="_blank" rel="noopener">National Gallery of Art</a>. 1 work at Metropolitan Museum of Art. 2 works at the Brooklyn Museum. 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-20-folder-29" target="_blank" rel="noopener">FAP</a>. Sources Consulted: University of Michigan Museum of Art, The Federal Art Project : American Prints from the 1930s in the Collection of the University of Michigan Museum of Art (University of Michigan Museum of Art, 1985); “NYA Youths Design Air Corps Posters,” Brooklyn Eagle 24 Aug. 1941: 6A; Mary Savig, ed., Pen to Paper: Artists’ Handwritten Letters from the Smithsonian’s Archives of American Art (Princeton Architectural Press, 2016). Creator An entity primarily responsible for making the resource Schardt, Bernard P., 1904-1979 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18264 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 171 Bernard P. Schardt Federal Art Project Great Depression lithograph New Deal Gallery https://openvalley.org/files/original/541301d3a77e08152d6a3ac5f2229df9.jpg fca3395af129292b3613945e9ed13360 https://openvalley.org/files/original/008588f1454011311b620e3969bc8cb3.jpg a7a70632703c69d6cee5802b12aa57af Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Wood engraving Physical Dimensions The actual physical size of the original image Image: 8 x 6 1/2 in. Sheet: 11 1/2 x 8 3/4 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Format The file format, physical medium, or dimensions of the resource jpeg, 990 KB jpeg, 996 KB Title A name given to the resource Cumberland Checkers Description An account of the resource About the Artist: Born in Milwaukee, WI, Schardt studied at the Art Institute of Chicago and then the Art Students League in New York. His works were exhibited at the Federal Gallery and the Municipal Art Gallery. Beginning in the 1935 Schardt began working for the Federal Art Project in a variety of roles: printmaker, allocations administrator, facilitator in the Poster Division; he oversaw the WPA demonstration exhibits at the 1939 World’s Fair. During this period Schardt and his wife, the WPA artist Nene Vibber, shared a flat with Jackson Pollock. Schardt’s background in printmaking and administrative capacities often extended beyond the galleries. In the late 1930s and early ‘40s he worked for the National Youth Administration (NYA) at its Art Production Unit, where students learned about commercial art while creating posters for the Farm Security Administration (FSA) and military recruiters (“NYA Youth”). After World War II, his friend Jackson Pollock mentions Schardt working at “silkscreen printing (cosmetics) on a big skale [sic]” (Savig 192). He also continued to mentor young artists via lessons at the Brooklyn Musuem. 4 works at <a href="https://americanart.si.edu/artist/bernard-schardt-4288" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 4 works at <a href="https://www.nga.gov/collection/artist-info.33966.html" target="_blank" rel="noopener">National Gallery of Art</a>. 1 work at Metropolitan Museum of Art. 2 works at the Brooklyn Museum. 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-20-folder-29" target="_blank" rel="noopener">FAP</a>. 12 images at <a href="https://art.gsa.gov/people/2325/bernard-p-schardt/objects" target="_blank" rel="noopener">GSA</a>. Sources Consulted: University of Michigan Museum of Art, The Federal Art Project : American Prints from the 1930s in the Collection of the University of Michigan Museum of Art (University of Michigan Museum of Art, 1985); “NYA Youths Design Air Corps Posters,” Brooklyn Eagle 24 Aug. 1941: 6A; Mary Savig, ed., Pen to Paper: Artists’ Handwritten Letters from the Smithsonian’s Archives of American Art (Princeton Architectural Press, 2016). Creator An entity primarily responsible for making the resource Schardt, Bernard P., 1904-1979 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1942 Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1490 Bernard P. Schardt Federal Art Project Games New Deal Gallery woodcut https://openvalley.org/files/original/c17684fa324a8c3cc21697a9585d0083.jpg 6c0b38a6e291948d74ed2588d35c5745 https://openvalley.org/files/original/f4024768bfae26467ba381fa2cff9536.jpg ed3ecdd19e740fd30f55f20d74eec59a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Color woodcut on paper Physical Dimensions The actual physical size of the original image Image: 11 x 13 3/4 in. Sheet: 15 1/2 x 18 3/4 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Girl Sewing Format The file format, physical medium, or dimensions of the resource jpeg, 2 MB jpeg, 1.3 MB Description An account of the resource Bernard Schardt’s graphic art "Girl Sewing” displays Schardt’s style the most, showing an African American woman at home sitting alone in her home sewing. Schardt print here is a color wood cut which was a popular choice among artists during this period. Which is why Schardt chose a geometric style especially in the background of the print. Schardt uses bright colors such as orange and blue for her dress, as well as with the couch. However, the floor and furniture use darker colors, to show the mundaneness of the scene unfolding. The subject is casual clothing, nothing that seems to be expensive or extravagant, and she is wearing slippers. Schardt uses the space in the painting, with the subject dominating it. Schardt doesn’t choose an exciting scene nor a happy subject, he stresses the ordinariness of the girl. The girl could be another face in the crowd, and that is what makes her the perfect subject for this specific period. Schardt's focus during this time is to display the ordinary and the unseen, which is why his use of the subject taking up the entirety of the print making the viewer focus on someone they might never have before. 12 images at <a href="https://art.gsa.gov/people/2325/bernard-p-schardt/objects" target="_blank" rel="noopener">GSA</a>.  Creator An entity primarily responsible for making the resource Schardt, Bernard P., 1904-1979 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Contributor An entity responsible for making contributions to the resource Lay, Giavanna (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1491 Type The nature or genre of the resource Still image Bernard P. Schardt Federal Art Project lithograph New Deal Museum https://openvalley.org/files/original/87bfee6aec83430d1cead5b825c20056.JPG 9e0c632181ab586d283b09230b81244c https://openvalley.org/files/original/192a4424ee47c9eed1f5341dd5492434.JPG fdb10b7e8b25d51501cfd42460c85c89 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 13.5 x 29.5 Condition: surface dirt, stains Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Peonies Description An account of the resource This oil on canvas still-life features a modestly decorated table. The primary object, the vase of overflowing peonies, demands our attention. A few, smaller objects also adorn this table such as small candles, a looking glass, and a gold statue. At first glance, it is easy to miss the oversized plate that sits like a shadow behind the peonies. It takes on a natural personality, such as a full moon, especially when juxtaposed behind bright and delicate flowers. There is a balance between natural and man-made objects in this piece, an arrangement of flowers from the outdoors complements the craftsmanship of the statue or the plate. This is a celebration of the domestic sphere, balancing unpredictable nature with human ability. About the Artist: Born in Dresden, Germany, Schiff immigrated to the US in 1915 with her mother Lydia and father Jacob, a portrait painter. Her formative years were spent in Chicago, where she received training from her father and was featured at the Art Institute of Chicago in 1934. Her work also was exhibited by the Hadassah women’s Zionist organization of that city. Shortly thereafter, perhaps in 1935, Schiff moved to New York and took classes at the Art Students League, meanwhile showing her work at the Washington Square Outdoor Art Exhibit. Although her paintings at the New Deal Gallery collection consist of still lifes, Schiff took great pleasure in portraiture; at a 1941 show she sketched visitors to her own exhibit and then displayed them on the walls (“Art Show”). The physicist Albert Einstein was a subject of her sketching. In 1943 she married James Vrettos, then moved to Colorado in 1956. Schiff’s work took a turn toward more chimerical subject matter, described by gallery director Simon Zalkind as tableaux of paper-doll characters: “Schiff's women, alternately alluring, playful and coy are always being seen. Figuratively and often literally, they are ‘on stage’. As Schiff's work evolves through the decades her women progressively lose the appearance of physical solidity, acquiring instead cartoon-like curves and contours. Bodies are flattened and appear to float weightlessly.” Her son recalls that Schiff “remained a loving, joyous, positively spirited person until the end of her life—true to her name Luba—Luboff in Russian meaning love.” 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-20-folder-32">FAP</a>. Sources Consulted: “Art Show Continues,” Gloverville Morning Herald 8 May 1941: 20. For additional information, a special thanks to Schiff’s son James Vrettos. Creator An entity primarily responsible for making the resource Schiff, Luba, 1912-2007 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Serbalik, John (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18265 Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB jpeg, 12 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 172 Federal Art Project flowers Luba Schiff nature New Deal Gallery still life https://openvalley.org/files/original/6df42cd7eade5a038c255da3d830d018.JPG 194528e8e5ff795218cf4766fcb1baa7 https://openvalley.org/files/original/5805592d0fa85a377c7242db2dfac316.JPG 105d225c19e1a758428fc943cf598c3f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 23 x 20 in. Condition: torn canvas, surface dirt, stained Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still Life Description An account of the resource A traditional oil on canvas still life with visible brush strokes features two and a half green-yellow pears, a golden pineapple, a paring knife, a bottle of Italian wine, and a red bowl propped up as the centerpiece on a wooden dining table. In facing the window to the right, a chair juts out from the make-shift blue backdrop. The contrasting but warm colors reflect the different origins of the items found in a classic American household. About the Artist: Born in Dresden, Germany, Schiff immigrated to the US in 1915 with her mother Lydia and father Jacob, a portrait painter. Her formative years were spent in Chicago, where she received training from her father and was featured at the Art Institute of Chicago in 1934. Her work also was exhibited by the Hadassah women’s Zionist organization of that city. Shortly thereafter, perhaps in 1935, Schiff moved to New York and took classes at the Art Students League, meanwhile showing her work at the Washington Square Outdoor Art Exhibit. Although her paintings at the New Deal Gallery collection consist of still lifes, Schiff took great pleasure in portraiture; at a 1941 show she sketched visitors to her own exhibit and then displayed them on the walls (“Art Show”). The physicist Albert Einstein was a subject of her sketching. In 1943 she married James Vrettos, then moved to Colorado in 1956. Schiff’s work took a turn toward more chimerical subject matter, described by gallery director Simon Zalkind as tableaux of paper-doll characters: “Schiff's women, alternately alluring, playful and coy are always being seen. Figuratively and often literally, they are ‘on stage’. As Schiff's work evolves through the decades her women progressively lose the appearance of physical solidity, acquiring instead cartoon-like curves and contours. Bodies are flattened and appear to float weightlessly.” Her son recalls that Schiff “remained a loving, joyous, positively spirited person until the end of her life—true to her name Luba—Luboff in Russian meaning love.” 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-20-folder-32">FAP</a>. Sources Consulted: “Art Show Continues,” Gloverville Morning Herald 8 May 1941: 20. For additional information, a special thanks to Schiff’s son James Vrettos. Creator An entity primarily responsible for making the resource Schiff, Luba, 1912-2007 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1936 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Chan, Sabrina (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18266 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 13.4 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 173 Federal Art Project Luba Schiff New Deal Gallery still life https://openvalley.org/files/original/52f3a3c332cbead89edd390fb37aa4ee.jpg c01101c57baed8ceaa6d6216b9f3c49a Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Digital photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Keuka Lake Description An account of the resource Photo captures much of what is distinctive about New York's Finger Lake region: long, glacially carved lakes; open vistas from which to behold them; and agriculture benefiting from the deep water's moderating influence upon temperature. The location of this photograph is not far from the winery of Dr. Konstantin Frank, a pioneer viticulturalist and important influence upon the state wine industry. Note: this photograph has been slightly cropped from the original. Creator An entity primarily responsible for making the resource See 1, Do 1, Teach 1 [screen name] Date A point or period of time associated with an event in the lifecycle of the resource 2017-10-10 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived <a href="https://www.flickr.com/photos/mpaulmd/37732410972/" target="_blank" rel="noopener">Attribution 2.0 Generic (CC BY 2.0) via Flickr</a> Format The file format, physical medium, or dimensions of the resource jpeg, 861 KB Type The nature or genre of the resource Still image Dr. Konstantin Frank Keuka Lake Viticulture Watersheds Winery https://openvalley.org/files/original/db909c4fd7fd23b1ef841ff9944da71f.jpg a979fa854746db2a76b042c47f06333d Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Stop-motion animated film Physical Dimensions The actual physical size of the original image Digital screenshot Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Coraline and Snow Globe Description An account of the resource Screenshot from Henry Selick's animated film Coraline (2009) shows the bored protagonist, wandering around a new home to which her family has relocated, momentarily intrigued by her mother's souvenir snow globe. It plays an important role later in the film. It appears here to thematize the multiple reasons children indulge in fantasies, and how art can expand that into alternate "worlds" that become the dominant space. Creator An entity primarily responsible for making the resource Selick, Henry Publisher An entity responsible for making the resource available Focus Features Date A point or period of time associated with an event in the lifecycle of the resource 2009 Contributor An entity responsible for making contributions to the resource Cooper, Ken Format The file format, physical medium, or dimensions of the resource jpeg, 660 KB Type The nature or genre of the resource Still image Children's Book Coraline (film) Imagined World https://openvalley.org/files/original/696140449dfaf0faa42dbc36a3274e67.jpg 80160bc56e422d01e3c928d64759c404 Hyperlink A link, or reference, to another resource on the Internet. Local URL The URL of the local directory containing all assets of the website <a href="https://www.adsoftheworld.com/media/print/central_pollution_control_board_diver" target="_blank" rel="noopener">https://www.adsoftheworld.com/media/print/central_pollution_control_board_diver</a> URL <a href="https://www.adsoftheworld.com/media/print/central_pollution_control_board_diver">URL</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Diver Description An account of the resource The juxtaposition of the Earth with and without pollution. Published as a part of the Central Pollution Control Board Campaign Creator An entity primarily responsible for making the resource Shan, Vidhi Publisher An entity responsible for making the resource available Sir J.J Institute of Applied Art Date A point or period of time associated with an event in the lifecycle of the resource 2008-03-21 Contributor An entity responsible for making contributions to the resource Caldwell, Julia (description) Source A related resource from which the described resource is derived <a href="https://www.adsoftheworld.com/media/print/central_pollution_control_board_diver" target="_blank" rel="noopener">https://www.adsoftheworld.com/media/print/central_pollution_control_board_diver</a> Type The nature or genre of the resource Hyperlink Format The file format, physical medium, or dimensions of the resource 165.3 KB